UNSUTURABLE REALITIES: SPACE AND SUBJECTIVITY IN THE SPIDER’S STRATAGEM AND TOBY DAMMIT By Katie Willison Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in Spanish May, 2010 Nashville, Tennessee Approved: Professor Edward H. Friedman Professor Andrés Zamora TABLE OF CONTENTS Page LIST OF FIGURES ..........................................................................................................................iii INTRODUCTION ...........................................................................................................................iv Chapter I. FROM BORGES TO BERTOLUCCI...................................................................................1 Suture, Spectator, and Subjectivity ..................................................................................2 From Ireland to Italy: A Detective Story Adapted........................................................3 Circular Labyrinths and Memorial Monuments ............................................................6 A Figurative Stage: “All Tara Will Become a Theater” ..............................................11 Tara’s Theater: The Scene of the Crime.......................................................................18 Time and Space in a Town Forgotten: The Burden of Inheritance .........................25 Borges, Bertolucci, and the Weight of Legacy.............................................................30 Athos Magnani: Traitor or Hero?..................................................................................35 II. FROM POE TO FELLINI.....................................................................................................38 American Transcendentalism to Italian Film Culture: A Satire Adapted ................39 Narrative Structure and Toby’s Discursive Authority................................................41 Voice-over Narrative .......................................................................................................47 Scenes of Unsuture ..........................................................................................................50 Poe’s Toby and the Absence of Language ...................................................................56 Fellini’s Toby and the Failure of Language..................................................................60 An Uroboric Metaphor of Adaptation..........................................................................67 Conclusions.......................................................................................................................72 Appendix A. FIGURES: THE SPIDER’S STRATAGEM .......................................................................75 B. FIGURES: TOBY DAMMIT...................................................................................................80 BIBLIOGRAPHY .............................................................................................................................82 ii LIST OF FIGURES Figure Page 1. Mirrored Shots: Athos approaches the arguing men.............................................................75 2. Mirrored Shots: Athos walks away from the arguing men...................................................75 3. Old men watching Athos through the theater-like curtains.................................................76 4. A suddenly exterior view of Athos in his hotel room...........................................................76 5. A subjective view of Athos’ assailant.......................................................................................77 6. A subjective view of Athos’ audience......................................................................................77 7. Athos as seen from Gaibazzi’s car...........................................................................................78 8. Costa’s rising movie theater screen..........................................................................................78 9. Athos in Tara’s theater...............................................................................................................79 10. Beccaccia in Tara’s theater.........................................................................................................79 11. A subjective view of the mysterious ball.................................................................................80 12. An exterior view of Toby as he reaches for the ball..............................................................80 13. The first subjective image of the little girl/Devil at the bottom of the escalator..............81 14. A view of the cockpit from an unsutured perspective..........................................................81 15. A view of the little girl/Devil from an unsutured perspective after Toby’s death............81 iii INTRODUCTION Regarding the adaptation of written narrative into cinematic form, the classic measure of loyalty to a film’s source text has given way to a more complex judgment that takes into account not only a director’s fidelity to the original work, but the creative value of the director’s product in its own right. According to the vision of film critic André Bazin, an adapted work must not simply be judged in light of its source text, but should rather be placed on a spectrum between faithfulness and creativity. Describing this very spectrum as an approach to the study of adapted novels in particular, he explains that the dialectic between fidelity and creation is reducible … to a dialectic between the cinema and literature. There is no question here of a translation, no matter how faithful or intelligent. Still less it is a question of free inspiration with the intention of making a duplicate. It is a question of building a secondary work with the novel as foundation. In no sense is the film ‘comparable’ to the novel or ‘worthy’ of it. It is a new aesthetic creation, the novel so to speak multiplied by the cinema. (142) The relationship between novel and film proposed here by Bazin clearly emphasizes the independent character of the secondary, cinematic text, encouraging critics to use a more just system of evaluation and granting directors a great deal of freedom both as interpreters of the stories of others and as creators of their own filmic narratives. And if we accept this approach with respect to novels adapted to the screen, we must also extend it to include the adaptation of short stories, whose condensation of themes and technical constraints particularly invite directors to set literal loyalty aside for the sake of individual creativity, as so many feature-length films find their way out of the shortest of stories. Such is the case of two films that reflect the unique tendencies of their directors as much as the structures, themes, and style of the short stories from which they were iv adapted: Bernardo Bertolucci’s The Spider’s Stratagem (1970), based on Jorge Luis Borges’ “Tema del traidor y del héroe” (1944), and Federico Fellini’s Toby Dammit (1968), inspired by Edgar Allan Poe’s “Never Bet the Devil Your Head” (1841). Both of these films, each one an episode in the life of a relatively young male protagonist, touch upon such themes as artistic creation, the interpretation of art, history, and reality itself through undeniably metacinematic devices. While introducing us to Athos and Toby, Bertolucci and Fellini also address our role as spectators, forcing us to abandon rather than associate ourselves with a protagonist, to invent rather than observe key moments in the plot, to untangle rather than simply receive complex sequences and perspectives, and to recognize rather than ignore the cinematic devices implemented to tell their stories. It should not surprise us, then, that the written stories upon which these films are based reflect such themes as literary, historical, and ontological interpretation, that they require an active and imaginative reader, or that they expose the creative process through a self-reflexive treatment of literary devices. The active reader of Borges and Poe essentially finds his counterpart in the alert, observant spectator of The Spider’s Stratagem and Toby Dammit, but, as with any aspect of cinematic adaptation, the process by which this shift occurs, as Bazin insists, is not one of simple translation. Considering these films along the lines of Bazin’s dialectic between fidelity and creation—acknowledging each work’s literary foundations and its original contributions, recognizing the shift from written to cinematic narrative without reducing it to translation, and identifying the ways in which the stories’ elements are expanded and multiplied on the screen—this essay will examine the concepts of space and subjectivity both in the onscreen realities constructed by Bertolucci and Fellini and in the act of reception experienced by the viewers of these films. From the physical spaces and structures first conveyed in the stories of Borges and Poe and later made visual through the concrete and stylistic representations of Bertolucci and Fellini, to the discursive spaces of literary and cinematic characters, subjects through whose eyes we may or may not see a v fictional world unfold, to the interpretive spaces offering subjectivity to the active reader of a story and the active spectator of a film, we will address several manifestations of space and subjectivity within the four works as we observe the common and disparate features between them. Additionally,